Marshland bordered little George Master’s childhood cottage. Schoolboy adventures led him to catch damp, clammy creatures like eels, frogs, and toads.
Thirty years later, in a crumbling mansion, Detective Chief Inspector George Masters wrote letters of apology to his wife. Dear Sarah, I have something to tell you…
The unfinished letters cluttered his desk.
At night, crooked secrets wriggled like toads into George’s mind. Midnight bade the toads crawl forward, nudging him towards madness.
George first met Sarah at his favorite pub, The Coach and Horses. While she blew out twenty-four candles on a chocolate cake, he celebrated a pay rise. Two summers later, crimson roses filled St. Peter’s church. Piers Courtway, Sarah’s childhood guardian, gave her away. Sarah went Goth, gliding down the aisle in black silk looking like a Devil’s concubine. George suffered hay fever and sneezed all over the priest.
He despised the home of Piers Courtway. Icy drafts in long hallways chilled George’s bones, and windows rattled in all twenty bedrooms of Ashstone Hall. Nettles sprouted up beside the stunted cherry trees flanking the gravel drive.
With gray hair and arthritis, Piers withered into senility. His bony fingers clutched walking sticks as he hobbled around his conservatory, struggling to remember his own name. Care workers ran his baths. Sarah spoon-fed him plum crumbles. George fixed broken pipes. Piers left personal items lying around, including his diary. George read the green, leather-bound volume.
Piers’ scrawled handwriting resembled twisted copperplate. Sarah had been only four when her parents died in a car crash, and Piers became her foster father. Like Sarah, Piers was the last of his line with no living family, but his ample trust fund could buy anything, including Social Services.
Sarah’s red hair grew curly, and her green eyes ever wider. Unable to quell the compulsion, Piers’ hands caressed her smooth, soft milk-white flesh. Page after page of his diary described how he stroked her hair, fondled her developing breasts, touched her thighs.
George shuddered in disgust.
After every “session” as Piers called it, he bought his foster daughter knickerbocker glories at seaside cafes. Famous auctioneers sold off his mother’s five emerald necklaces to fund her education. She kept three ponies in a field near her private school. Piers had made amends, in his own way.
George hurled Piers’ diary into a roaring fire, destroying evidence. Every last page crinkled and burned black, fading into white ash. The slimy toads of vengeance burrowed ever deeper into George’s mind, demanding justice.
Attempts to discuss Sarah’s childhood failed. Piers spent days simply sucking corners on woolen blankets. Sarah clamped her jaw shut. George dreaded local journalists finding out. Front-page news would wreck Sarah’s life. He bottled up his revulsion, the slippery toads poisoning his judgment, his happiness, his sanity.
Village locals had never suspected. Years back, Piers impressed his neighbors by restoring E-Type Jaguars. His tweed jackets smelt of oil and petrol, or tobacco from his pipe. Sarah kept the terrible secret.
Piers was ninety-four when a care worker discovered his mutilated remains in the library. He had been stabbed five times in the back of his neck and shoulders with a ten-inch carving knife. Splatters of blood stained a first edition of Bleak House lying forgotten on a rosewood table.
Sarah wept for days, her eyes bloodshot, her face pale.
George directed the police investigation. No suspects were questioned. No killer caught. No motive established. No murder weapon found. No juicy articles in newspapers. The unsolved case remained an enigma.
After the reading of the will, Sarah popped a cork, grinning as she sprayed fizzy champagne all over George. He grinned too when she bought him a Harley-Davidson for his birthday, and took him to The Maldives for Christmas. After inheriting Ashstone Hall and all her guardian’s other assets, she bought ten thoroughbred racehorses with dividends from her extensive share portfolio.
Despite George’s demands, Sarah refused to sell the place. Piers must have wanted her to keep the property, she argued. Recordings of his favorite classical music, including Debussy’s “Clair de Lune” tinkled across dusty rooms. George preferred Jimi Hendrix strumming the electric guitar.
George, happier down the pub drinking cider with his mates, struggled with life in the big house.
Nightmares blighted his sleep. Stern gothic carvings on their four-poster bed glowered like gargoyles. Sarah closed off the library, turning bookcases into tombs. Every week, she took in vases of flowers, scenting stale air with sweet smells of hyacinths and lilies.
One winter morning, George added logs to the fire and settled in his armchair. Smells of Sarah’s Sunday roast, giblet gravy, and homemade Yorkshire pudding wafted in from the kitchen.
Sarah called him for lunch. Her rib of beef filled a silver platter. On the mahogany sideboard, an antique blue and white ginger jar held Piers’ ashes. George’s mind slipped back into the past.
As a police officer, he dealt with many cases which involved men who preyed on children. In three separate incidents, young girls living in town had been raped and murdered. George snared each killer. After reading Piers’ diary, he had been a wild pagan god, brooding, watching Piers, cursing the vile man. Five pints of cider boosted George’s courage. He had grabbed a carving knife from the kitchen and stabbed Piers to death. Blood spurted everywhere. Shaking with horror at what he had done, George wiped away his fingerprints and buried the knife deep under ferns near a yew tree.
George tried to focus on the fine meal Sarah had made and ignore the ginger jar. In his hands he balanced their new carving knife, his fingertips tracing the sharp steel blade. He trembled, taking slow, deep breaths, his stomach churning. How long could he hide his own guilt? He made his choice.
Forever.
Sarah kissed George’s cheek. “I found a toad crawling under loose floorboards in the library,” she said. “I hope it doesn’t curse us all.”
Oh I loved this story – fabulous!!!
Thank you very much indeed. High praise!
I’m glad you liked it.
Vivid, colourful tale!
Thanks for your comment, Kim. It was very kind of you to read my story.
Wonderful writing
Thank you for your comment. Much appreciated.
I find this very infantile. Do you accept submissions from fifth-graders? I suggest that Stephen Duffin write more about what is related to his own life instead of following juvenile stereotypes of creepy country manors and their occupants.
Ann, it is my understanding that Comments are meant to be, if not laudatory, helpfully and constructively critical, not merely insulting.
Thank you for pointing this out.
If anything, the description of the old house was succinctly and vividly portrayed.
I feel that the description of the coverup was overly sketchy, even contrived. Would he really have been in charge of the investigation? Perhaps a sequel is in order.
In the story overall you certainly put a lot of time and description into few words.
Thank you for your perceptive comment.
I hope my reply does not ramble on too long. I apologise if it does. If you have time, you might find it interesting.
To put the story into context, I will try to explain it as things unfolded. You could say it was a short story (or even a novel?) that was ruthlessly pruned to fit a flash fiction word count. It is certainly not “realistic” in any true sense of the word – see below.
As I began writing it, there seemed to be a strong sense of the late 1970’s/early 1980’s about it in rural England, but because of the word count I was not able to add all the (vivid) details that came to mind.
Thematically, I felt it was all about moral dilemmas, forgiveness, and guilt.
The first moral dilemma centres on Piers feeling guilty for what he had done to Sarah. Should he have done what he did? No. Has he truly made amends for his crimes with treats, expensive education, and (later) a substantial inheritance? Is it enough?
It was better than nothing.
This leads on to Social Services – a pivotal point in the narrative. As the story unfolded in my mind, Social Services (at the time, back in the late 1970’s?) were grateful Sarah had someone “nice and respectable” (and very wealthy) to look after her. I don’t know how Social Services operated back then, but (as the story seemed to develop a life of its own) finding a wealthy benefactor/guardian was a much better option than putting a child into some kind of overcrowded, low-budget home.
As I wrote the story, there was a sense of subtle bribes and “back-handers” by Piers to ensure that he got what he wanted, but this is not explained in the story (the dreaded word count again!). I felt that Social Services were not properly conscientious. Their casual approach lurked in the background, but was not crucial to the story itself. Social Services (whoever “they” were) thought things might have turned out OK, and “they” hoped Sarah would be well provided for.
There was a sense of Social Services being negligent, and maybe faintly corrupt (by accepting small bribes and inducements) rather than being downright “evil”. They came across as sloppy, and busy with more pressing matters elsewhere. On the other hand, if they had done their job properly, none of this might have happened.
Some folk might even say Sarah did well out of it. She lived in exceptionally good circumstances. She forgave Piers, and spoon-fed him plum crumbles in his dotage. As I saw things unfold, she had no idea of the contents of his Will. None whatsoever.
Was she right to forgive him? Only she could answer that. Maybe the story was partly about forgiveness? Or, about how the power of large sums of money smooths the pathway to forgiveness?
The second moral dilemma comes with George murdering Piers. Most people – quite rightly – get extremely upset at child abuse. George was no exception. His “police procedural” part reads nothing like realistic police procedure, and I totally agree with you – it does seem contrived.
That part of the story was really more about George’s guilt. He has to make a choice. Is it “OK” to murder child molesters? And should he own up to having done so?
Sarah was buying George expensive presents like a Harley Davidson, and taking him on holiday to The Maldives. What idiot would give that up for a life behind bars?
Once again, money creeps into the equation. In the end, George makes his choice. He plans to hide his own crime and guilt forever (just like Piers did – history repeating itself, and in the very same house).
This all leads back to the title. Toads. There is more than one toad in that story. Whether George (And Piers by extension? And possibly unnamed characters in Social Services? And even Sarah?) deserved to be cursed is anybody’s guess. Make of it what you will.
So, it was not so much about “realism”, as about moral dilemmas, and one terrible crime piled up on top of another terrible crime. Do two wrongs make a right? You decide.
Please feel free to interpret the story as you see fit, but I don’t think there will be a sequel.
Thanks for taking the time to read my work.
And thanks again for your comment. I appreciate the feedback.
Ann,
We are all entitled to our opinion.
You are perfectly free to dislike my story and my writing, especially if you do so with courtesy and constructive criticism.
However, it is unacceptable to launch personal attacks on the author.
Furthermore, you have absolutely no idea of the extent of my life experience, and should not presume to do so.
In future, please be more considerate when making comments on FFM.
I think it is also appropriate to thank people when they compliment your writing. Withholding a simple courtesy leaves a person regretting they commented.
Thank you for reminding me of my responsibilities!
I do apologise for my tardy reply. I get bouts of sinusitis at times, and tend to withdraw from life until I feel better.
Thank you for your initial positive comment above. It was good of you to be supportive, and I do appreciate it.
The story was inspired after a drive through the Quantock Hills in Somerset. When I started writing it, I had no idea it would turn out to be so dark and peculiar.
The yew tree became incredibly important to the development of the story. Yew trees are symbolic of immortality, and have both good and bad connotations. That the knife should have been buried near a yew tree seemed a crucial part of the story, although I have no idea why it felt so very important. To the best of my knowledge, the story is not based on true crime.
The whole thing took on a life of its own. I felt as if I was writing someone else’s story. To be honest, it was all a bit strange, and I was glad when it was finished.
I don’t usually write things like that, and was very surprised by the mixed bag of comments. I’m not planning to write anything like it ever again. I much prefer happy endings!!!
I do appreciate your earlier comment, and thank you once again for your support.
You are very welcome Stephen. I have to say that was a classy response. We know how the Internet rolls, lol.
The yew tree did capture my attention. Like something mystical and exotic.
Writing is a trip, funny what can inspire us, then transform into God knows what?
This story will stick with me, and that’s the achievement of good writing.
Good luck! Chris
I also perceived elements of decadence, decay. The widows rattling in every bedroom, etc.
Thank you for your comment.
Have you ever written a ghost story? It requires an understated voice combined with 3 dimensional description to achieve literary quality in such a story. Edith Wharton, Mary E. Wilkins-Freeman have achieved that level, and a few others.
Not really…
I’ve made a few half-hearted attempts, but never got far.
I’ve read some of Edith Wharton’s work, and thought The House of Mirth was a masterpiece of prose style and good story-telling, but never read her ghost stories.
This is well-written with colorful characters, and moves along at a good pace. I enjoyed it so much.
Thank you for your positive remarks. I do appreciate your feedback.
I really liked this story. I was a bit shocked by the above criticism. It was dark and pleasing. I could feel the thick atmosphere and enjoyed the characters’ turmoil. I liked “the black silk dress…”, a lot of images. Well done.
BTW I have read some excellent stories on FFM.
Please see my comment to your later comment below.
Very well written. Cinematic descriptions throughout. Loved the symbolism of the toads. I have also read a lot of literary flash fiction, and I’m baffled by the harsh criticism leveled at this story. Grain of salt and all that… 😉I thought it was great!
Thanks for your reply. I appreciate your support!
“reply” should read “comment”…
(Still waking up this morning!……………….)